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ON DANGEROUS GROUND

Back in 1944, Lord Mountbatten succeeded in getting Mao Tse- tung's signature on a promise to extend the British lease on Hong Kong for another hundred years if Mao came to power in China. Now, with the months ticking down on the original lease, a race is on for the last surviving copy of the Chungking Covenant. Sound familiar? It's a virtual rehash of Higgins' last, Thunder Point (1993)—but don't tell that to stalwart, nondescript Brigadier Charles Ferguson or his dashing one-time IRA enemy and present right- hand man Sean Dillon, fresh from thwarting an assassination attempt against the American President in London. (This preliminary plot winds down so rapidly that you just know the assassins weren't really trying.) Now Ferguson and Dillon are detailed to retrieve the Chungking Covenant from among the personal effects of its late courier, Major Ian Campbell, so that the Prime Minister can burn it before it throws the Hong Kong political situation into chaos. Meantime, though, Palermo's capo di tutti capi, Don Giovanni (!), gets wind of the document and, determined to extend the season on the Mafia's Hong Kong resort interests, deputizes his polo-playing, construction mogul nephew Carl Morgan and Morgan's stepdaughter Asta to grab the Covenant before Her Majesty's authorities can destroy it. The Morgans lease Campbell's manor house from his elderly sister, Lady Katherine Rose; Ferguson, Dillon, and Inspector Hannah Bernstein lease the adjoining hunting lodge. Now begins a battle of wits and nerves, with each side cultivating the other's matey acquaintance and assiduously leaking disinformation about its plans. By the time Lady Katherine suddenly remembers what really happened to her brother's personal effects, the stage is set for one of Higgins' kitchen sink finales, with the principals scuba diving, stealing, kidnapping, parachuting, and assaulting their way into your hearts still again. Nowhere near the top of Higgins' form, but his hordes of devoted fans won't mind this dog-and-pony show one more time. (Book-of-the- Month-Club Main Selection)

Pub Date: March 23, 1994

ISBN: 0-399-13933-8

Page Count: 304

Publisher: Putnam

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 1994

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DEVOLUTION

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

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Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).

A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.

A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.

Pub Date: June 16, 2020

ISBN: 978-1-9848-2678-7

Page Count: 304

Publisher: Del Rey/Ballantine

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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THEN SHE WAS GONE

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.

Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.

Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.

Pub Date: April 24, 2018

ISBN: 978-1-5011-5464-5

Page Count: 368

Publisher: Atria

Review Posted Online: Feb. 5, 2018

Kirkus Reviews Issue: Feb. 15, 2018

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